For over 4 many years, artist DY Begay expanded the expressive vary of Diné (Navajo) weaving, remodeling the shape right into a language that’s solely her personal. She is a Diné Asdzą́ą́ (Navajo lady), born to the Tótsohnii (Huge Water) clan and born for the Táchii’nii (Crimson Operating into Water/Earth) clan. Her maternal grandfather is of the Tsénjíkiní (Cliff Dweller) clan and her paternal grandfather is of the Áshįįhí (Salt Individuals) clan.
Begay is a fifth-generation weaver who was raised in Tsélání (Cottonwood) on the Navajo Nation, the place her household’s sheep flock nonetheless resides. Rooted in Diné Bikéyah (Navajo homelands) — from the cliffs of Tsélání to the horizon of the Lukachukai Mountains — her work displays the blended hues of sunsets, mesas, and mountain ranges, whereas her use of wool from her household’s flock and pure dyes binds her apply to the land she seeks to honor and defend.
After graduating from Arizona State College in 1979, Begay moved to New Jersey and immersed herself within the fiber artwork world of New York Metropolis. She studied historic Diné textiles on the Museum of the American Indian, whose collections later turned a part of the Smithsonian’s Nationwide Museum of the American Indian (NMAI). Most of those items had been created by Diné weavers whose names weren’t recorded, doubtless girls. She additionally took inspiration from the work of artists resembling Anni Albers, Sheila Hicks, and Lenore Tawney — all of whom educated in fashionable Western traditions but studied Indigenous weaving practices. Their work inspired Begay to check a number of Indigenous weaving practices herself, forming a basis for experimentation throughout cultures. As early as 1985, Begay was publicly urging her fellow Diné weavers to see their textiles not merely as commerce items however as artistic endeavors — a conviction she has carried by many years of apply.
DY Begay, “Enchanted Indigo” (2022), wool and plant dye (photograph by Walter Larrimore, courtesy the Nationwide Museum of the American Indian)
When she returned to Tsélání in 1989, her grandmother, Desbáh Yazzie Nez (1908–2003), noticed her weavings and urged her to develop her personal compositional sensibility. Begay rapidly gained recognition on the Heard Museum Guild Indian Truthful and Market in addition to the Santa Fe Indian Market, but she felt stressed in her apply. By 1994, that questioning crystallized right into a breakthrough: She started creating coloration hatching, a technique of making delicate gradations and nuanced coloration interactions that reworked the stable, banded designs of typical Diné weaving.
This innovation marked a turning level, pushing her weavings past inherited patterning and towards a color-driven abstraction and incorporation of undulating bands that will develop into her signature visible model, as in “Pollen Path” (2006), which references her reminiscences of amassing corn pollen together with her sisters. She can be a part of a wave of weavers who’ve sought to revive Diné wool clothes together with serapes, which fell out of vogue within the late nineteenth century amid the US authorities’s insurance policies of removing, imprisonment, and assimilation. Begay’s current survey on the NMAI in Washington, DC, and its accompanying monograph, offered 48 textiles made primarily over three many years, situating her lengthy profession inside each Diné lineage and up to date artwork. After exhibiting on the Santa Fe Indian Market in August, Begay spoke with us over Zoom from her dwelling in Santa Fe. The interview has been edited and condensed for readability.
Sháńdíín Brown and Zach Feuer: In Elegant Mild: Tapestry Artwork of DY Begay, the primary guide devoted to you and your current retrospective on the NMAI, you write about watching your mom and grandmother weave within the hogan. How did you get began in your first weaving, and what did these early works appear to be? Are you able to inform us about your early academics?
DB: I don’t bear in mind the very first time I picked up weaving instruments and set a loom alone. I used to be very younger. I do bear in mind standing behind my mom’s loom, watching her pull coloured yarns over and across the warps. Her fingers moved swiftly out and in, urgent the wefts into place. Inside minutes, geometric shapes stacked and shaped into the define of a Ganado-style weaving. At that age — possibly 4 or 5 — I couldn’t fairly comprehend how these shapes got here collectively. I used to be at all times perplexed and in awe. The whole lot occurred so quick in entrance of me as her palms composed traces and rows of coloured yarn.
I grew up surrounded by weavers: my maternal grandmother, my mom, and my aunts. Somebody was at all times on the loom, typically positioned in a really central place contained in the hogan. And we lived within the hogan after I was rising up, and all people else did too.
I watched my mom create stepped patterns with hand-dyed yarns, transferring with precision and charm. Educating got here by displaying. It was a bodily motion. The phrase that I at all times bear in mind, and continues to be used in the present day, is kót’é — “like this.” My mom mentioned “kót’é, kót’é.” That was her instructing. I realized by sitting quietly, watching intently, following the actions of the palms. This was how the elders shared their weaving information: by demonstration, endurance, and presence. It was not a proper instruction. I don’t bear in mind asking questions. It was at all times “kót’é, kót’é.”
Begay with weaving instruments in her dwelling studio in August 2025 (photograph by and courtesy Kelso Meyer)
SB & ZF: Do you bear in mind the second while you first started weaving your self — whether or not your loved ones arrange a loom for you otherwise you began engaged on theirs?
DB: I used to be very curious. I attempted to carry my mom’s instruments, however they had been too massive for my palms. When she wasn’t dwelling or she was outdoors, I used to plant myself in entrance of the loom, pull the weft by, and attempt to faucet it down, nevertheless it by no means labored. Finally, she allowed me to take a seat together with her now and again and mentioned “kót’é, kót’é.” I started to get used to the pure motion of tapping with the combs. I used to be about eight years outdated after I had my very own loom. I don’t bear in mind its dimension. My mom ready the warp and I used leftover yarn from her bin. I do bear in mind ending my first weaving, possibly two colours. It was fairly respectable for a primary try. It was a very good studying scenario as a result of my mom was there. She would typically unweave sure components and we’d go on and on. I additionally used to sneak in a couple of traces on her loom, and she or he at all times observed.
SB & ZF: What occurred to these early items? Did she take them to a buying and selling publish or market?
DB: I don’t actually know. Most completed weavings, possibly two by three or three by three ft, and a few saddle blankets, had been taken by my father and my grandfather to the native buying and selling posts to alternate for meals, material, or no matter was wanted. My mom by no means went to the buying and selling publish herself — we didn’t have a automobile then, so transportation was by wagon or horses. They might roll up the weavings, pack them, and take them to the buying and selling publish. I don’t bear in mind what occurred to a lot of my earliest items, however there was one on exhibit on the NMAI from 1966. That’s the one one which I do know.
Begay’s “Early Weaving” (1966), which appeared in Elegant Mild (photograph by Walter Larrimore, courtesy the Nationwide Museum of the American Indian)
SB & ZF: May you inform us about “Pollen Path”? What impressed it and the way did you method creating these works?
DB: In weaving “Pollen Path,” I needed to share a cultural perception. Among the many Diné, we sprinkle corn pollen to honor a brand new day, to hunt blessings, and to convey steadiness into our lives. Corn itself is a sacred plant. The pollen is collected in late summer time, when the tassels of the corn start to pollinate. We collect it within the early morning, simply earlier than the solar rises. For me, “Pollen Path” displays peace, magnificence, and gratitude for all times.
The challenge started in the summertime of 2007, an excellent yr for rising crops that I take advantage of in dyeing my wool. My sister, Berdina Y. Charley, planted native corn seeds she obtained from our Táchii’nii (Crimson Operating into Water/Earth) kinfolk. I consider these had been heirloom seeds from our Táchii’nii household. That summer time turned not solely a time of planting and weaving, but additionally an ideal alternative to gather pollen and refill our pollen luggage.
DY Begay, “Pollen Path” (2007), churro and merino wool and plant and artificial dyes (photograph by Walter Larrimore, courtesy the Nationwide Museum of the American Indian)
SB & ZF: How do you translate the expertise of strolling in magnificence, by the landscapes of Diné Bikéyah (Navajo Nation) and extra particularly your private home of Tsélani (Cottonwood), into the two-dimensional type of weaving?
DB: Not solely do I’ve my Tsélani panorama embedded in my thoughts, however I ceaselessly {photograph} the encompassing textures at varied occasions of the day to seize totally different lighting because it displays on the terrain. I take advantage of these pictures to evoke not solely two dimensions, but additionally three dimensions to develop the scenes on my loom.
SB & ZF: Are you able to share about your loved ones’s sheep flock, its historical past, and the way it has formed your weaving apply?
DB: My household has raised sheep for a lot of generations. They had been our most important supply of meals, wool for weaving, and even a approach to commerce for items on the native buying and selling publish. Immediately, my sister Berdina continues that custom by elevating Navajo-Churro sheep for each weaving and meals. She’s serving to to maintain the sheep custom alive, and due to that, we nonetheless have the useful resource — the wool — to spin into yarn and carry our weaving ahead.
Elegant Mild: Tapestry Artwork of DY Begay; DY Begay; Supposed Vermillion dyed yarn samples (photograph by Walter Larrimore, courtesy the Nationwide Museum of the American Indian)
SB & ZF: Are you able to inform us about your coloration palette and the method of dyeing the wool? Is it important so that you can use and make dyes which can be from the earth?
DB: I’ve been practising and experimenting with pure dyes for fairly some time, and I like utilizing native crops to create my coloration palette. It’s each important and conventional in my tradition to make use of what the earth gives to create dyes for our yarn.
My palette comes from many sources. I work with frequent crops resembling cota (Navajo tea), chamisa, rabbitbrush, and sage. I additionally use non-native supplies like bugs, fungi, meals, and flowers. Every has its personal season, and I gather crops in response to the time of yr.
The method itself is an experiment each time. I’ve studied many dyeing strategies and realized to be attentive to formulation that assist receive and protect the colours. For me, making dyes from the earth isn’t solely sensible but additionally deeply linked to custom and creativity.
Begay with walnut hulls, which she makes use of to make pure dyes (photograph by and courtesy Kelso Meyer)
SB & ZF: Had been there explicit folks, experiences, or moments that prompted transitions and development in your weaving model?
DB: Sure, I can consider two folks. My paternal grandmother, Desbáh Yazzie Nez, was a prolific weaver and dyer. She at all times inspired me to proceed weaving and jogged my memory that I had an exquisite sense of design — that I shouldn’t restrict myself to buying and selling publish kinds. I cherish her considerate phrases to this present day.
Within the early Nineteen Eighties, I met Helena Hernmarck, a Swedish tapestry artist. Throughout certainly one of my visits to her studio in Connecticut, she informed me that I had “an innate sense of color and design” and inspired me to discover and specific my creativity extra totally.
SB & ZF: You’ve drawn from Indigenous Plains peoples’ painted parfleche and from Quechua weaving practices. What are different reference factors that encourage your work? How do you convey these visible and cultural influences into dialog with Diné weaving, and what drew you to discover Native feminine abstraction from different areas?
DB: I’ve an awesome appreciation for the handmade rawhide containers, and I’m intrigued by compositions painted on luggage, containers, and envelopes utilized by the Plains folks. The compositions on parfleches are fantastically organized as in Diné weaving patterns. I like using daring colours, the preparations of contrasting colours, and the way the colour mixtures are organized on the hides.
As for Quechua weaving, I used to be at all times eager about serapes and ponchos. Rising up round weavers in my household, I’ve not been capable of finding anybody weaving a serape or have any tales associated to serapes. I realized that most of the serapes in the present day are housed in personal or museum collections. I did some analysis in a number of museums analyzing and learning serapes, and the challenge led me to Peru. I spent a month [in 2000] touring to weaving communities, collaborating with weavers and exchanging weaving traditions.
Throughout my visits in varied communities, I used to be honored to have been invited into their houses and taught some weaving methods, like engaged on an Andean backstrap. I used to be impressed by the weavers and the revolutionary designs they utilized to the backstrap looms.
I used to be very happy to search out out that most of the Indigenous folks nonetheless put on serapes that they’ve woven or have been woven for them. I used to be captivated by the colours, the frilly designs, the kinds and their makes use of. I designed and wove my Diné model of a Peruvian serape after I returned to Tsélani. I hope the Diné weavers will probably be impressed to recreate some conventional serapes and return to carrying them, too.
DY Begay, “Biníghádzíltł’óní (Woven Through)” (2012), wool and bug and plant dyes (photograph by Walter Larrimore, courtesy the Nationwide Museum of the American Indian)
SB & ZF: Diné Bizaad was your first language. How has pondering and talking in Diné Bizaad formed the best way you method weaving? Did you additionally be taught to weave Diné Bizaad?
DB: Aóó [yes], Diné Bizaad is my first language.
It’s important and deeply linked. Diné Bizaad carries phrases that describe the methods, processes, and loom components, and every is critical to the act of weaving. Utilizing the right Diné weaving terminology isn’t solely vital — it grounds the apply in our mind-set and understanding.
Diné Bizaad was at all times spoken, as it’s my language. The instructing, directions, the steerage, even the corrections — all got in our language. Immediately, it’s taught in English, which can be applicable. Particularly for the Diné who don’t communicate the language.
SB & ZF: Hózhó is commonly translated as “beauty, harmony, and balance.” In your weaving apply, was bringing hózhó into the work a acutely aware alternative, or was it one thing ingrained in you thru teachings? How does it materialize in your designs, particularly in your use of coloration and sample?
DB: Sure, hózhó dólaá is the expression I take advantage of. It expresses gratification for concord, well-being, and being within the second for every day. “Hózhó” is a each day expression. It’s ingrained in my existence as a Diné.
For me, weaving area itself is a sacred area. That’s the place I deal with creativity, on coloration, on the designs and concepts. So after I’m weaving, that sense of steadiness and concord naturally flows into the work. It comes by within the colours I select and the best way the patterns evolve.
Begay with a number of her naturally dyed fibers in her studio in August 2025 (photograph by and courtesy Kelso Meyer)
DY Begay, “The Natural” (1994), wool and plant dyes (photograph by Walter Larrimore, courtesy the Nationwide Museum of the American Indian)
Begay’s preparatory sketches for “Intended Vermillion,” watercolor, coloured pencil, and graphite (photograph by Walter Larrimore, courtesy the Nationwide Museum of the American Indian)
DY Begay, “Intended Vermillion” (2015), wool with plant, insect, and artificial dyes (picture courtesy the Denver Artwork Museum)
